Fiction 101 Workshop Curriculum

Fiction 101 - Introduction
Learning to write fiction provides a unique challenge to any writer. Unlike nonfiction, which is based on established facts, or poetry, which can be entirely imagined, fiction depends upon rooting an imagined story in reality. Good fiction allows readers to suspend their disbelief - for the duration of the story, readers believe in the story, they believe in the characters. It might be a story about vampires or it could be aliens fighting for control of Mars, but if it's well written the readers will set aside their doubts and allow the question that drives all imagination: "what if?"

In Fiction 101, we examine the fundamentals that allow suspension of disbelief. For this class, each student will write a prompt-directed story. First, we root the story with setting, providing a stage for all that occurs. Then we establish our characters: the protagonist, the antagonist, their conflict. We use dialogue to flesh-out the story further, to develop the conflict and reveal the sides of our characters that are not seen directly. Finally, we bring the conflict to a head and resolve the story.

Throughout this workshop, students will receive feedback from the instructor after each assignment. Through ongoing discussion forums, the instructor will provide topics for consideration and fellow students will discuss their progress. There will opportunities for questions and feedback throughout. At the end of the course, students will share their stories with classmates for critique.

Fiction 101 - Activities:

Setting - Set Location
Pick a Room that has strong memories for you. It could be your own room now, you're parent's bedroom, the principal's office, your grandfather's attic. It should be a room that holds personal meaning to you, a room from which you can draw personal connections. Describe this room. What's in this room? What's missing that should be there? How do the contents of this room represent it's inhabitants? How do the habits of the people affect this room, the way it's been laid out? The aim is 250-750 words.

Character - Pick a Protagonist
Imagine your protagonist in the room you've described. This protagonist can be someone you know, or a stranger who fascinates you, or simply someone you made up. Think about what your protagonist looks like. What does he or she wear? How do we see the life of this person in his face, in her hands? What does this person want or need most right now?

Now write your protagonist into the room. You may use first or third person narrative, but limit your point-of-view to information that your protagonist would personally know and care about. Your reader will see the story through this character's eyes. The goal is 250-750 words.

Conflict - Insert Antagonist
Insert character two. Consider how this character prevents your protagonist from fulfilling his or her needs. Why do your protagonist and antagonist hate one another? What topics will they never discuss? Write about this from your protagonists perspective. Write about how these to people avoid one another while inhabiting the same room. Remember that in developing conflict, you must continue to uphold setting along with descriptions of both characters. What are these two characters doing in the room? How do their actions display the turmoil? What do they say - or not say - to one another?

As you write this, you are revealing an important aspect of your protagonist. Make sure that you write about the key change that your protagonist must make in his or her life. Think about the lesson you want your protagonist to learn from this story. What plans does the protagonist make while sparring with the antagonist? Are these plans good or bad?

The goal is 500 words, but you can go longer.

Dialogue/Description - Introduce Outside Party
Dialogue is one of the most potent literary tools at your disposal. It is dialogue that drives scene by defining the relationships between characters. Description may indicate feelings and setting can influence tone, but the words that your characters exchange will leave the most lasting impression on the reader. Your characters must sound believable, and they must exchange information which drives the plot forward. For this exercise, your protagonist is still in the room, but the antagonist has left. Briefly describe why the antagonist has left - is it something the protagonist said? Or is it part of your antagonists plot to rule this world?

Insert a third character, a neutral party, someone who is not part of the conflict but should be aware of it. The first part of this exercise is the way your protagonist views the third party. What brief detail defines this third person? How does the protagonist think of this person?

Next, use dialogue to reveal who this character is. What does this person care about? Does the protagonist need to win this character as an ally? Does this person have valuable information for your protagonist? Or has the antagonist bought him off? Your protagonist is trying to justify his own point of view in the conflict with the antagonist - this dialogue is his chance to justify himself through words. The goal for this exercise is 500 words, but you can go longer.

Dialogue: The Three-Way
Uh-oh, the antagonist returns…and now we have a three-way dialogue. Remember that conversations consist of short sentences - everyone wants to be heard, even those afraid to speak. While your protagonist and antagonist are duking it out for supremacy, your third character will have his or her own agenda. What is this agenda? We don't know because we see the world through the eyes of the one protagonist only. Using dialogue, description, and your protagonist's intuition, reveal as much as you can about your antagonist and his relation to the third character. As in other exercises, the setting of the room continues to evolve - has anything changed in the room since assignment one? How does the change affect the arena of conflict? (e.g. if the AC goes out and everyone's sweating, will tempers be lost?) Remember that you do not need to resolve your story just yet - that's the next assignment. The goal for this one is 500 words or more.

Resolution: The Clean-Up
The key to ending a story is resolving the conflict. Somehow, the energy driving the protagonist's desires must dissipate. Does the guy get what he wants? Does the girl realize she needed something else entirely? Does our hero oust the antagonist from an ill-gotten throne, or has compromise postponed our battle? The goal is 250-750 words.

Looking Back: Revision and Critique
Now that you've completed your story, the final portion of the workshop is dedicated to examing what you've accomplished. Each student will complete revisions and submit a second draft of their story for student critique. The writing assignment for this portion is to provide feedback for fellow students. The instructor will lead the story critique with leading questions for each story and highlights. Ground rules will be maintained to establish an open and welcoming environment for critique.

Click here to Register for Fiction 101.

1-2-Writing Workshops Online
About Ryan Edel

The Beginning Writer Workshop

I'm trying out the free-lance writing life in Raleigh while bartending on the side. Ends don't quite meet, but I feel like I'm actually living my dream for the first time. It's a great feeling, even as I put in twelve-and-fourteen hour days at my self-imposed "office."

There's a drawback to "living the dream," however. After many years of trying to convince my parents that writing is what I'm meant to do, I've had accept that they don't quite understand. I'm sure it's a common problem though. For a beginning writer - as for the beginning artist in any field - it's hard convincing your parents that starving is the right thing to do. Starting this website, to my practical mother, would be an even more foolhardy endeavor. I'm attempting to teach writing while hardly established myself. I'm applying to MFA programs, but I don't have one under my belt just yet. From the perspective of the mother who expected her son to excel in engineering, I'm throwing away both time and talent to a lost cause.

Why, then, do I write? Why endure the questions? Why not give in and find something lucrative? I've always been decent at math, and chemistry never was very hard for me (at least not until I took engineering classes - that was fun...). Why should someone who could make a living in another field want to be a writer?

The simple answer is that I can't not write. When the chemistry became to hard, I used the structures to describe my science fictional space alloy. When the differential equations were incomprehensible, I wove the squiggles into the setting of a new story. When my own life stopped making sense, I wrote out what I could. It's become an unbreakable habit - incestuous, almost. When I get tired of working on whichever novel is in progress, I'll take a break by writing a short story. Sometimes I have to pry myself away from the keyboard just to make sure I get my requisite hour of air and sunlight. Somedays I don't make it outside before dark.

Naturally, I want to share this unusual passion for words on a screen - I'm launching an online creative writing workshop. The focus will be on helping beginning writers learn the fundamentals of fiction writing while building the confidence to really experiment with their work. It feels ironic, almost. I'm barely published - my first story will see print later this year. My other stories are still in the submission stages. My first half-decent novel needs a cover-letter before so I can hunt for an agent. And yet I want to teach others.

Like any writer, I know the milestones in my work. I have a feeling of when and why I learned certain lessons at certain times. And I've made some major breakthroughs recently - the writing is beginning to "click" like it never did before.

My "sudden" progress is a combination of thousands of hours logged at the keyboard and time spent in some excellent workshops. I've learned valuable lessons from other writers and begun applying these lessons to my work. These are lessons in writing that I can pass on directly. Just as importantly, though, I've taken a few workshops that didn't help me as much. I've met writers who provided bad advice. And I can apply the lessons from these less-than-helpful seminars to provide lessons that are better structured and feedback that is targeted to the differing needs of each writer.

I have two goals in these workshops. My primary goal is to lead writing exercises that will help writers see stories from the inside out. This involves critiquing the work of others, it involves writing stories to specific prompts, it involves viewing your own writing in new ways. My second goal in is to illustrate the key guidelines for teaching creative writing. I believe that anyone who can write well can teach, but teaching creative writing is itself an art. It is a complicated process that involves both an understanding of the art and a connection with the artist. Many of the best writers and teachers, unfortunately, are not both.

I believe that much of the problem is an issue of focus – the best writers often never teach until after they’ve become successful authorities in their field, and then they have no one above them to guide them in how to run a workshop. The curriculum I'm assembling now is designed to overcome this. Starting young, I believe that beginning writers can quickly grasp the essential rules of teaching craft. By mastering these rules, a writer becomes both better with words and develops an affinity for helping other writers. And it is this bond - the ability to see and understand a human being through the words on the page - that defines a true writer.

1-2-Writing Workshops Online
About Ryan Edel